Overview

“Long live the King” hailed Entertainment Weekly upon publication of Stephen King’s On Writing. Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer’s craft, comprising the basic tools of the trade every writer must have. King’s advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999—and how the ...

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Overview

“Long live the King” hailed Entertainment Weekly upon publication of Stephen King’s On Writing. Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer’s craft, comprising the basic tools of the trade every writer must have. King’s advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999—and how the inextricable link between writing and living spurred his recovery. Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it—fans, writers, and anyone who loves a great story well told.

Editorial Reviews

From Barnes & Noble

The subtitle to Stephen King's On Writing, his missive on the art and craft that have made him rich and famous, is "A Memoir of the Craft." And that's just what this book is. Beginning with his earliest childhood, when his mother was struggling to raise Stephen and his older brother on her own, King takes readers through his life, culminating with the 1999 tragedy that almost ended it. Interspersed with King's memories are details that highlight his burgeoning career, all of it told in King's uniquely folksy but slightly twisted style.

From the Publisher

"A one-of-a-kind classic."--The Wall Street Journal

"This is a special book, animated by a unique intelligence, and filled with useful truth."—Michael Chabon

"On Writing had more useful and observant things to say about the craft than any book since Strunk and White's The Elements of Style."--Roger Ebert

“The best book on writing. Ever.”--The Plain Dealer (Cleveland)

From the Publisher

"A one-of-a-kind classic."—The Wall Street Journal

"This is a special book, animated by a unique intelligence, and filled with useful truth."—Michael Chabon

"On Writing had more useful and observant things to say about the craft than any book since Strunk and White's The Elements of Style."—Roger Ebert

“The best book on writing. Ever.”—The Plain Dealer (Cleveland)

Bob Minzesheimer

Stephen King's On Writing, has wonderful moments. It made me think of King as I think of The Beatles. Both hit it big early. Both used their popularity to grow, experiment, study, and learn from others. King is still at, still telling stories after all these years.
— USA Today

Publishers Weekly
- Publisher's Weekly

"No one ever asks [popular novelists] about the language," Amy Tan once opined to King. Here's the uber-popular novelist's response to that unasked question a three-part book whose parts don't hang together much better than those of the Frankenstein monster, but which, like the monster, exerts a potent fascination and embodies important lessons and truths. The book divides into memoir, writing class, memoir. Many readers will turn immediately to the final part, which deals with King's accident last year and its aftermath. This material is tightly controlled, as good and as true as anything King has written, an astonishing blend of anger, awe and black humor. Of Bryan Smith (who drove the van that crushed King) watching the horribly wounded writer, King writes, "Like his face, his voice is cheery, only mildly interested. He could be watching all this on TV...." King's fight for life, and then for the writing life, rivets attention and inflames admiration as does the love he expresses throughout for his wife, novelist Tabitha. The earlier section of memoir, which covers in episodic fashion the formation of King the Writer, is equally absorbing. Of particular note are a youthful encounter with a babysitter that armchair psychologists will seize upon to explain King's penchant for horror, and King's experiences as a sports reporter for the Lisbon, Maine, Weekly Express, where he learned and here passes on critical advice about writing tight. King's writing class 101, which occupies the chewy center of the book, provides valuable advice to novice scribes--although other than King's voice, idiosyncratic and flush with authority, much of what's here can be found in scores of other writing manuals. What's notable is what isn't here: King's express aim is to avoid "bullshit," and he manages to pare what the aspiring writer needs to know from idea to execution to sale to a few simple considerations and rules. For illustration, he draws upon his own work and that of others to show what's good prose and what's not, naming names (good dialogue: Elmore Leonard; bad dialogue: John Katzenbach). He offers some exercises as well. The real importance of this congenial, ramshackle book, however, lies neither in its autobiography nor in its pedagogy, but in its triumphant vindication of the popular writer, including the genre author, as a writer. King refuses to draw, and makes a strong case for the abolition of, the usual critical lines between Carver and Chandler, Greene and Grisham, DeLillo and Dickens. Given the intelligence and common sense of his approach, perhaps his books' many readers will join him in that refusal. 500,000 first printing. (Oct.) Copyright 2000 Cahners Business Information.

KLIATT

This is Stephen King's first nonfiction book and it is excellent. Even those who do not care for King's novels will find this book worthwhile. In his first of three forewords, King explains that his purpose is to "attempt to put down, briefly and simply, how I came to the craft, what I know about it now, and how it's done." In the first section of the book King shares some of the experiences and memories that helped shape him as a person and as a writer. These "snapshots," as he calls them, are interesting, sometimes sad, sometimes hilarious, and sometimes sad and hilarious at the same time. Soon after college, King married, had two children, and taught English in Hampden, Maine, as he tried to get Carrie, his first novel, published. The paperback rights eventually sold for $400,000 and King's career was launched. Along the way, he fought battles with alcoholism and drug addiction. In another section King describes the "toolbox" that every writer must have. Among the items needed, King discusses vocabulary, grammar, and style. He offers good practical advice such as "the adverb is not your friend." He also refers all aspiring writers to Strunk and White's The Elements of Style as essential reading. In fact, "read a lot and write a lot" are two of the most fundamental keys to successful writing. Instead of advising writers to write what they know, he suggests that they write, "anything at all... as long as you tell the truth." King provides insight into the way he creates a story as well as specific suggestions about the use of dialogue, symbolism, and theme. He also discusses his approach to writing each day and his rule that a second draft should be 10% shorter than the first. He evendiscusses what to look for in an agent. King was in the middle of writing this book in 1999 when he suffered serious injuries when hit by a car while walking. His desire to finish the book actually helped in his long rehabilitation process. He explains that writing "had helped me forget myself for at least a while" and he hopes "it would help me again." The novels of Stephen King have many young people reading; this book may encourage some of them to start writing as well. Teachers will find this book full of helpful suggestions. There are examples of "bad" writing and discussions for improvement. A word of caution must be included, however, since King is fairly frequent in his use of inappropriate language. KLIATT Codes: A*—Exceptional book, recommended for advanced students, and adults. 2000, Pocket Books, 288p., $14.95. Ages 17 to adult. Reviewer: Anthony J. Pucci; English Dept. Chair., Notre Dame H.S., Elmira, NY , September 2001 (Vol. 35 No. 5)

Library Journal

In 1981 King penned Danse Macabre, a thoughtful analysis of the horror genre. Now he is treating his vast readership to another glimpse into the intellect that spawns his astoundingly imaginative works. This volume, slim by King standards, manages to cover his life from early childhood through the aftermath of the 1999 accident that nearly killed him. Along the way, King touts the writing philosophies of William Strunk and Ernest Hemingway, advocates a healthy appetite for reading, expounds upon the subject of grammar, critiques a number of popular writers, and offers the reader a chance to try out his theories. But most important, we who climb aboard for this ride with the master spend a few pleasant hours under the impression that we know what it s like to think like Stephen King. Recommended for anyone who wants to write and everyone who loves to read. [Previewed in Prepub Alert, LJ 6/1/00.] Nancy McNicol, Hagaman Memorial Lib., East Haven, CT Copyright 2000 Cahners Business Information.

School Library Journal

Adult/High School-By the time King was 14, the scads of rejection slips he'd accumulated grew too heavy for the nail in the wall on which they were mounted. He replaced the nail with a spike and went on writing. This straight-up book inspires without being corny, and teens suspicious of adult rhapsodies to perseverance will let down their guard and be put at ease by the book's gritty conversational tone. The first 100 pages are pure memoir--paeans to the horror movies and fanzines that captivated King as a child, the expected doses of misadventure (weeks of detention for distributing his own satirical zine at school; building an electromagnet that took out the electricity of half a street), and hard times. King writes just as passionately in the second half of the book, where the talk turns to his craft. He provides plenty of samples of awkward or awful writing and contrasts them with polished versions. Hand this title to reluctant readers and reluctant writers, sit back, and watch what happens.-Emily Lloyd, Fairfax County Public Library, VA Copyright 2001 Cahners Business Information.

From The Critics

This presentation is mostly a memoir with a treatise on writing thrown in, and will attract any fan of horror writer Stephen King. King's life, his penchant for horror, and his influences and intentions come alive in descriptions which welcome the reader into King's life and art. The final chapter, chronicling his fight for life and ability to walk again, is a moving conclusion and testimony to his life of life - and writing.

Janet Maslin

[King's] warmly conversational book about literary craftsmanship should interest even those who find something oxymoronic in its conception. As someone who describes the authorial brainstorm of setting off a bomb in The Stand because the story was becoming overpopulated, he may not be the most noble of stylists, but there's no denying that he knows how to make a story fly...Monstrous as it was, [King's accident, in which he was struck by a car] turned On Writing into a much stronger, more meaningful book than it might have been. Halfway through this project, when he was hurt, Mr. King incorporated his revivifying return to work into this book's narrative in ways that will make readers realize just how vital it has been for him. And the accident is eloquently described here, as a sterling illustration of all the writing guidelines that have come before. For once, less is more in Mr. King's storytelling, and the horror needs no help from his imagination.
—New York Times

Marla Abramson

Part memoir, part guide, King's ode to writing is filled with deft humor and detailed instructions. Starting with the recollection of the first time he pretended he was someone else (a Ringling Bros. and Barnum & Bailey Circus strongboy), King charmingly recounts each incident that shaped his career. Eula-Beulah (which name was hers, he can't remember) readied him for critics. He writes, "After having a two-hundred-pound babysitter fart on your face and yell Pow!, The Village Voice holds few terrors." King takes us through his earliest writings, rejections, alcoholism and success, up through his recovery after being hit by a van last summer. He imbues each snapshot with wisdom and advice for writers. For those who don't dream of picking up a pen, skip the toolbox section, where he gives practical advice to writers. But this book still holds many lessons, such as when to keep going: Carrie, his first commercial success, originally ended up in King's trash can. After writing the first four pages, King felt the story had major problems and threw it away. His wife rescued the pages and urged King to continue. "You've got something here," she said. "I really think you do."

Kirkus Reviews

Generous, lucid, and passionate, King (Hearts in Atlantis, 1999, etc.) offers lessons and encouragement to the beginning writer, along with a warts-and-all account of a less-than-carefree life.

Related Subjects

Meet the Author

More by this Author

Stephen King is the author of more than fifty books, all of them worldwide bestsellers. His recent work includes Revival, Mr. Mercedes, Doctor Sleep, and Under the Dome, now a major TV miniseries on CBS. His novel 11/22/63 was named a top ten book of 2011 by The New York Times Book Review and won the Los Angeles Times Book Prize for Mystery/Thriller as well as the Best Hardcover Book Award from the International Thriller Writers Association. He is the recipient of the 2003 National Book Foundation Medal for Distinguished Contribution to American Letters. He lives in Bangor, Maine, with his wife, novelist Tabitha King.

Read an Excerpt

I actually began On Writing in November or December of 1997, and although it usually takes me only three months to finish the first draft of a book, this one was still only half-completed eighteen months later. That was because I'd put it aside in February or March of 1998, not sure how to continue, or if I should continue at all. Writing fiction was almost as much fun as it had ever been, but every word of the nonfiction book was a kind of torture. It was the first book I had put aside uncompleted since The Stand, and On Writing spent a lot longer in the desk drawer.

In June of 1999, I decided to spend the summer finishing the damn writing book — let Susan Moldow and Nan Graham at Scribner decide if it was good or bad, I thought. I read the manuscript over, prepared for the worst, and discovered I actually sort of liked what I had. The road to finishing it seemed clear-cut, too. I had finished the memoir ("C.V."), which attempted to show some of the incidents and life-situations which made me into the sort of writer I turned out to be, and I had covered the mechanics — those that seemed most important to me, at least. What remained to be done was the key section, "On Writing," where I'd try to answer some of the questions I'd been asked in seminars and at speaking engagements, plus all those I wish I'd been asked...those questions about the language.

On the night of June seventeenth, blissfully unaware that I was now less than forty-eight hours from my little date with Bryan Smith (not to mention Bullet the rottweiler), I sat down at our dining room table and listed all the questions I wanted to answer, all the points Iwanted to address. On the eighteenth, I wrote the first four pages of the "On Writing" section. That was where the work still stood in late July, when I decided I'd better get back to work...or at least try.

I didn't want to go back to work. I was in a lot of pain, unable to bend my right knee, and restricted to a walker. I couldn't imagine sitting behind a desk for long, even in my wheelchair. Because of my cataclysmically smashed hip, sitting was torture after forty minutes or so, impossible after an hour and a quarter. Added to this was the book itself, which seemed more daunting than ever — how was I supposed to write about dialogue, character, and getting an agent when the most pressing thing in my world was how long until the next dose of Percocet?

Yet at the same time I felt I'd reached one of those crossroads moments when you're all out of choices. And I had been in terrible situations before which the writing had helped me get over — had helped me forget myself for at least a little while. Perhaps it would help me again. It seemed ridiculous to think it might be so, given the level of my pain and physical incapacitation, but there was that voice in the back of my mind, both patient and implacable, telling me that, in the words of the Chambers Brothers, Time Has Come Today. It's possible for me to disobey that voice, but very difficult to disbelieve it.

In the end it was Tabby who cast the deciding vote, as she so often has at crucial moments in my life. I'd like to think I've done the same for her from time to time, because it seems to me that one of the things marriage is about is casting the tiebreaking vote when you just can't decide what you should do next.

My wife is the person in my life who's most likely to say I'm working too hard, it's time to slow down, stay away from that damn PowerBook for a little while, Steve, give it a rest. When I told her on that July morning that I thought I'd better go back to work, I expected a lecture. Instead, she asked me where I wanted to set up. I told her I didn't know, hadn't even thought about it.

She thought about it, then said: "I can rig a table for you in the back hall, outside the pantry. There are plenty of plug-ins — you can have your Mac, the little printer, and a fan." The fan was certainly a must — it had been a terrifically hot summer, and on the day I went back to work, the temperature outside was ninety-five. It wasn't much cooler in the back hall.

Tabby spent a couple of hours putting things together, and that afternoon at four o'clock she rolled me out through the kitchen and down the newly installed wheelchair ramp into the back hall. She had made me a wonderful little nest there: laptop and printer connected side by side, table lamp, manuscript (with my notes from the month before placed neatly on top), pens, reference materials. Standing on the corner of the desk was a framed picture of our younger son, which she had taken earlier that summer.

"Is it all right?" she asked.

"It's gorgeous," I said, and hugged her. It was gorgeous. So is she.

The former Tabitha Spruce of Oldtown, Maine, knows when I'm working too hard, but she also knows that sometimes its the work that bails me out. She got me positioned at the table, kissed me on the temple, and then left me there to find out if I had anything left to say. It turned out I did.

Introduction

A Reading Group Guide for On Writing: A Memoir of the Craft by Stephen King

Points of Discussion

Do you agree with Stephen King that the desire to write always starts with a love of reading?

What role did Stephen King's childhood play in his evolution as a writer? Did your childhood experiences influence your desire to write?

King was encouraged from a young age by his mother, who told him one of his boyhood stories was "good enough to be in a book." Was there someone in your life who encouraged your earliest efforts?

At what age do you remember thinking you wanted to write? What do you remember writing when you were young?

King's wife Tabitha is his "Ideal Reader," the one-person audience he has in mind when writing a first draft. When you write, do you envision a particular Ideal Reader? Who is that person and why?

While King delights in the nuts-and-bolts mechanics of the writing process, he concedes that good writing involves magic as well. Do you agree with King's assertion that "while it is impossible to make a competent writer out of a bad writer, and while it is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one?" To what degree can a writer be made? To what extent can writing be taught? What writerly skills do you come by naturally, and which have you had to work to acquire or improve?

Discuss King's "toolbox" analogy. What "tools" do you find most indispensable when you write? Are there any you would add to King's toolbox?

King believes that stories are"found things, like fossils in the ground." Discuss King's extended metaphor of "writing as excavation." Do you agree with this theory?

According to King, good story ideas "seem to come quite literally from nowhere, sailing at you right out of the empty sky," and often don't ignite until they collide with another idea that also comes unbidden. Do you find that ideas for stories or writing projects come to you out of the blue, or do you have to search for them? What serves as the basis for most of your stories? A situation? A character? A moral dilemma? King recalls a dream that led him to the writing of his book Misery. Have you ever gotten a story idea from a dream? Discuss how you discovered your best ideas and how they evolved into finished stories.

King describes the dangers of seeking reader response — or "opening the door" — too early or too frequently. At what stage in a writing project do you solicit critical feedback from others? When you do "open the door," who are the first readers you ask for advice? Why do you trust those readers and what are you looking to hear from them?

King doesn't read in order to "study the craft" but believes that there is "a learning process going on" when he reads. Do you read books differently as a writer? Are you conscious of "the craft" as you read?

In the first foreword to On Writing, King talks about the fact that no one ever asks popular writers about the language. Yet he cares passionately about language and about the art and craft of telling stories on paper. Do you think there is a false distinction between writers who write extraordinary sentences and writers who tell stories?

Often, King says, "bad books have more to teach than the good ones." He believes that most writers remember the first book they put down thinking "I can do better than this." Can you remember a book that gave you that feeling? Why?

King's self-imposed "production schedule" is 2,000 words a day and he suggests that all writers set a daily writing goal. What kind of discipline, if any, do you impose upon your own writing efforts? Do you always write at the same time of day? If so, when and why? Do you try to maintain a steady pace? Does adherence to a strict routine help your writing efforts?

King tells a story about getting his fantasy desk, a massive oak slab that he placed in the middle of his spacious study. For six years, he sat "behind that desk either drunk or wrecked out of [his] mind." After sobering up, he replaced the desk with a smaller one that he put in a corner. "Life isn't a support system for art," he figured out. "It's the other way around." Discuss King's "revelation" and the symbolism of the placement of the desk.

Stephen King is the author of more than fifty books, all of them worldwide bestsellers. Among his most recent are Under the Dome, Just After Sunset, the Dark Tower novels, Cell, From a Buick 8, Everything's Eventual, Hearts in Atlantis, The Girl Who Loved Tom Gordon, Lisey's Story and Bag of Bones. His acclaimed nonfiction book, On Writing, is also a bestseller. He was the recipient of the 2003 National Book Foundation Medal for Distinguished Contribution to American Letters. He lives in Maine with his wife, novelist Tabitha King.

Reading Group Guide

1. Do you agree with Stephen King that the desire to write always starts with a love of reading?

2. What role did Stephen King's childhood play in his evolution as a writer? Did your childhood experiences influence your desire to write?

3. King was encouraged from a young age by his mother, who told him one of his boyhood stories was "good enough to be in a book." Was there someone in your life who encouraged your earliest efforts?

4. At what age do you remember thinking you wanted to write? What do you remember writing when you were young?

5. King's wife Tabitha is his "Ideal Reader," the one-person audience he has in mind when writing a first draft. When you write, do you envision a particular Ideal Reader? Who is that person and why?

6. While King delights in the nuts-and-bolts mechanics of the writing process, he concedes that good writing involves magic as well. Do you agree with King's assertion that "while it is impossible to make a competent writer out of a bad writer, and while it is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one?" To what degree can a writer be made? To what extent can writing be taught? What writerly skills do you come by naturally, and which have you had to work to acquire or improve?

7. Discuss King's "toolbox" analogy. What "tools" do you find most indispensable when you write? Are there any you would add to King's toolbox?

8. King believes that stories are "found things, like fossils in the ground." Discuss King's extended metaphor of "writing as excavation." Do you agree with this theory?

9. According to King, good story ideas "seem to come quite literally from nowhere, sailing at you right out of the empty sky," and often don't ignite until they collide with another idea that also comes unbidden. Do you find that ideas for stories or writing projects come to you out of the blue, or do you have to search for them? What serves as the basis for most of your stories? A situation? A character? A moral dilemma? King recalls a dream that led him to the writing of his book Misery. Have you ever gotten a story idea from a dream? Discuss how you discovered your best ideas and how they evolved into finished stories.

10. King describes the dangers of seeking reader response -- or "opening the door" -- too early or too frequently. At what stage in a writing project do you solicit critical feedback from others? When you do "open the door," who are the first readers you ask for advice? Why do you trust those readers and what are you looking to hear from them?

11. King doesn't read in order to "study the craft" but believes that there is "a learning process going on" when he reads. Do you read books differently as a writer? Are you conscious of "the craft" as you read?

12. In the first foreword to On Writing, King talks about the fact that no one ever asks popular writers about the language. Yet he cares passionately about language and about the art and craft of telling stories on paper. Do you think there is a false distinction between writers who write extraordinary sentences and writers who tell stories?

13. Often, King says, "bad books have more to teach than the good ones." He believes that most writers remember the first book they put down thinking "I can do better than this." Can you remember a book that gave you that feeling? Why?

14. King's self-imposed "production schedule" is 2,000 words a day and he suggests that all writers set a daily writing goal. What kind of discipline, if any, do you impose upon your own writing efforts? Do you always write at the same time of day? If so, when and why? Do you try to maintain a steady pace? Does adherence to a strict routine help your writing efforts?

15. King tells a story about getting his fantasy desk, a massive oak slab that he placed in the middle of his spacious study. For six years, he sat "behind that desk either drunk or wrecked out of [his] mind." After sobering up, he replaced the desk with a smaller one that he put in a corner. "Life isn't a support system for art," he figured out. "It's the other way around." Discuss King's "revelation" and the symbolism of the placement of the desk.

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Insanely Inspiring...

I found this book insanely inspiring. Sometimes vulger, sometimes surprisingly romantic and moving, reading this was like spending an evening with a master storyteller and having him answer all the questions you've always wanted to ask. I loved it.

8 out of 8 people found this review helpful.

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Grandma-in_Texas

Posted January 4, 2010

Not a fan of the Author (until now), but I loved this book and I am now a bit smitten with the Author too.

I have never read a Stephen King book, nor did I anticipate ever reading one. I am not one who likes to be scared. I have a 50 year habit of sleep walking after scary movies, and I sleep in the nude... but then that is another story....and a little scary in itself.
Anyway, I was given this book by my sister, who knows that I will only read the truth. No previous use for fiction, or fantasy books here.
As it turned out, I really did enjoy this book, and I have since referred it to a couple of friends, who are budding authors. I feel that the tips and suggestions were very concise, and I had many "well duh" moments. It seems so easy, and so obvious. And yet, it took the book to make me realize it. Genius!! I would highly recommend this book, to anyone planning to write, or who thought that they knew how to write already. Heck, I may even buy a Stephen King Book of pure fiction soon. Egad!

8 out of 9 people found this review helpful.

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5407546

Posted February 12, 2011

helpful

an excellent view inside the mind of successful creative genius. i will never look at adverbs the same.

3 out of 3 people found this review helpful.

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Anonymous

Posted December 25, 2012

Story Contest Guidlines

1.) You may not have innapropriate language or graphics. 2.) You may not copy or plagerize a story. 3.) You MUST have fun while writing it!

2 out of 2 people found this review helpful.

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Tonja_Steel

Posted March 8, 2013

What a brilliant book by a brilliant man. I love how he discusse

What a brilliant book by a brilliant man. I love how he discusses how story matters and to forget about plot. I've been writing a novel and have found his advice incredibly inspiring and helpful. I'm a fair writer who hopes to become above average and I think with the help of this book and lot of practice, I can get there. I am so grateful to King for taking the time to write this book. I know it was not that enjoyable to write but WOW, what a difference it's made in my world. It's been better than ANY creative writing course or book coach I could have hired. Kudos to the King!

1 out of 1 people found this review helpful.

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jmeeks

Posted September 8, 2012

A must for writers.

This is a must read for writers. King's folksy review of his life and how it affected his writing is an easy read. His tidbits of basic writing tips give writers the background as to why writing should follow established guidelines . . . or not. These are tips that will make you view your writing in a new perspective. He is irreverant and totally believable.

1 out of 1 people found this review helpful.

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Anonymous

Posted September 5, 2012

¿You can approach the act of writing with nervousness, excitemen

“You can approach the act of writing with nervousness, excitement, hopefulness, or despair ... Come to it any way but lightly.” Stephen King. There is a reason why Stephen King is my favorite writer and it isn’t just because he is an author of mind-twisting tales, but is a teacher through his writing. The book On Writing; A Memoir of the Craft, isn’t a step by step book on how to write a novel, but is inspiriting boost of confidence. He teaches his readers how to be the best writer they can be. This book is set up in sections. Through the first section King shares childhood stories and his path on becoming a published writer. He shares his troubles through his old addictions of alcohol and drugs and finding his wife Tabitha. I have to admit some of these childhood memories did have me laughing out loud. The second section talks about all the tools a writer needs to be successful. He introduces how to be descriptive by giving an example of a table with a red cloth and a bunny cage set on top. He told you his idea of what this set would look like and this made me think because it was NOTHING like the picture in my head. The third section is about king’s “toolbox”. He explained how there are different “shelves” that are important to writing which are vocabulary, grammar, and elements of style. The fourth section is all about the cream inside the Oreo. He describes how to go from the idea in his head to the story on the white piece of paper. The final section was all about editing. The thing I enjoyed about this book is how inspired Stephen King is about writing. He is dedicated and obviously loves what he does. Also, I find it important that an author stays truthful. Stephen didn’t have one issue telling you what is good and what plan out sucks. I recommend this book to anyone and everyone. Even if you aren’t a serious writer, there are many tips given that even I found helpful.

1 out of 1 people found this review helpful.

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Anonymous

Posted August 20, 2012

The Calling: Angel--Prolouge

Not many people experience the things I have. I have seen Niagra Falls, I've been to Paris, I've dove three hundred feet below the Pacific Ocean, I have even been to the moon. My name is Angel. Don't ask about a last name. I don't have one. Well, I do, but I am no more attatched to it than I am to the wind. Now, you also might think that I'm a girl because of my name. I'm not. A hundred percent guy. (Tell me how this is going at result two and if I should continue it.) ~MortalInstrumentsGirl

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ionestjames

Posted October 22, 2011

Great Advice!

I loved this book. It has to be my favourite book of 2010. I have always been a fan of Stephen King and I found, as an aspiring writer, that a book about writing written by someone who knows what they're doing is a great help. I initially had to read this book for my Fiction Writing class, I absolutely fell in love with it from page one and my love for it continued all the way to page 288. There were times when this book made me laugh out loud, embarrassingly on my part, in public places and there were times when I was reading it that I realized some of the mistakes I made as a writer and I learned ways in which I could fix those mistakes without taking away from the idea I want to get across.

Now, Stephen King is a very blunt man. He is not shy about saying that there is such a thing as a "bad writer." To quote the book, he says:

...while it is impossible to make a competent writer out of a bad writer, and while it is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one.

He gives you the facts, straight from the horse's mouth, if you will, and yet he puts it in a way that not only comforts you, but helps you learn exactly why it is the way it is. He even uses examples from his own writing, whereas a textbook would merely give you examples of someone else's work.

I would definitely recommend this book to anyone. Anyone at all. Especially those who are looking to become professional writers. On Writing helped me out so much, I don't know where I would be if I hadn't read this book. Probably writing crappy novels that border on fan fiction. Who knows?

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Anonymous

Posted February 26, 2015

Excelllent

A must read for any writer. Valuable insights, clear and to the point

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Anonymous

Posted February 23, 2015

STORY COMPETITION

Stories are on res two and introductions are on here. Thanks! ~Lauren&hearts

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Madme

Posted November 23, 2014

The King is naked

Stephen King lays it all out for the would be writer. I am not a writer, but I like this author enough to read his books. And this is a great way to understand how he creates his fiction. If you think you know it all, or just want to get into writing, then you should read this book. He pulls no punches about what constitutes bad, good or great writing with many good examples and great stories. He talks about grammar and all the other crap that make a good writer. And if you're not reading this book , then save your money and knit something instead. Enjoy.

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Anonymous

Posted June 30, 2014

Story entries

My story is an unbeatable choose your own adventure about dragons. My other entry is at hear set res 1 and my first entry is at zip result one.

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Anonymous

Posted June 29, 2014

My story

My story is still being written. Go to unwritten result one for the first chapter. Result two is for the second. I am still working on the third chapter.

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Anonymous

Posted June 29, 2014

Entry (correction)

A dystopian prolouge at dgi res one.

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Anonymous

Posted June 29, 2014

Story entry

'Hunted' at lemon res one is a prologue to a story of a crazed woman who cant keep her rage in any longer. She 'hunts' down the 42 children of her enemies swearing revenge....<p>(The prologue is alot better than that example. Thx!)

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Anonymous

Posted June 29, 2014

Entry: Crumpled Paper (poem)

I wanted to show you my heart<br>so I poured it onto a piece of paper<br>but you didn't understand my language<p>

I wanted to open the door to my soul<br>with its sadness and its joy<br>but you could not unlock it to see inside<p>

I tried to sing my song to you<br>a song of strength and wisdom<br>but you could not hear it<p>

I sighed and went to pick up<br>the crumpled pieces of my heart<br>but you picked them up for me<br>and smiled.<p>

Only then could I see your crumpled heart<br>unlock the door to your soul<br>hear your song<br>And let you truly see<br>Me.

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Story entries

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Anonymous

Posted August 17, 2014

Entry: Torn (Poem by Ferns)

I was born and raised <br> In a summer haze. <br> Forgotten, Lost, Abandoned. <p> I have known hate. <br> I have known love. <br> I have known deceit, <br> And power-crazed strangers. <br> I have known betrayal. <p> I've learned <br> That the world doesn't spin in circles <br> To keep us healthy <br> With night and day. <p> It spins in confusion <br> As to why we pollute it <br> Why we are so cruel to it's nature <br> Why we trample it like lice. <p> I have also known Redemption. <br> And then, <br> Like a sharp breath, <br> It was taken away.<br> The idea was torn from my thoughts, <br> From my lips as I spoke it, <br> Redemption was torn from me. <p> Weak and tired, I have traveled the world.<br> Every day, <br> I'd be lost in tears, <br> Apologizing to the beautiful Earth <br> For what my kind has done to it. <p> I came upon a sparkling, clear spring. <br> So beautiful,<br> So clear,<br> I had to drink. <br> I bent down, <br> Splashed the water to my lips, <br> And I melted into a summer haze. <br> A white mist carried me, <br> Up into the sky. <p> I know peace.

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Anonymous

Posted June 29, 2014

Another fanfic

Do you promise to uphold the warrior code? Even at the cost of your life? Sparrowpaw somnly nodded. Then from this day forward, Ashstar continued, you shall be known as Sparrowflight <br>SPARROWFLIGHT SPARROWFLIGHT roared all of Treeclan. Ashstar turned to her sister, Robinpaw, do you promise as well? <br>I do, Robinpaw vowed. Then from this day forward you shall be known as Robinwing. Treeclan cheered Robinwing. Tonight you will sit vigil announced Ashstar. Everyone left the new warriors alone on the collection of branches, "So? Are you planning on having kits?" Sparrowflight asked her sister in a hushed tone. "No, why?", asked Robinwing. Sparrowflight turned away embaressed, "No reason." <br> "oh okay then." Robinwing said suspiciously. And then it was sunrise. Sparrowflight stumbled into the warrior den exhausted, she slept half the day. When she woke she thought, oh mousedung I have to go clean the elders bedding. When she lumbered into the Elder's den, there oldest elder Fallingtree made a comment, "new warriors he said to the other elders, old habits die hard" the other elders shared a chuckle and Sparrowflight flattened her ears in frustration. "Oh then I'll just..." <br>"No stay," Fallingtree said, "we'll tell you a story about how treeclan came to the treetops. Once, in the day of the four clans, when noble cats like Squirellflight and Firestar lived in the land, there was a cat called Leafdrop. She was unhappy with the life she lead. She fled to the treetops, and we are still here today." Sarrowflight rolled her eyes. She already knew this story. She left the den to be greeted by forrestsky, the deputy. He told her to get on her duty immeadiantly. She volunteered to go on a patrol with Poppytail and her apprentice Rootpaw. Rootpaw was amazing at hunting. And at everything else according to Sparrowflight who had a desperate crush on him. He would be a warrior in one moon! <p>

****** <p>

Rootheart! Rootheart! Treeclan roared. Sparrowflight smiled quietly. Roothaeart will sit vigil tonite said Ashstar. Everyone went to their dens. The next day Sparrowflight woke and went hunting alone. She was stalking a sparrow when a deep voice scared it off. "You where always better with squirells" Rootheart meowed. Sparrowflight scowled. They slept together that night. And Sparrowflight soon had kits <p>

****** <p>

Sparrowflight looked happily at her three kits, Skykit, Owlkit, and Gingerkit. Skykit was adventorous and would always try to cimb out of the trees. Owlkit was a strange kit and Gingerkit was ginger. The end

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